People go to the big urban centres because they have a quality of life, a quality of intellectual inquiry in the big urban centres that you don't necessarily have in smaller, rural communities. I've got loads of friends and relatives that live there. People like living there, bringing up their kids there and all that stuff, but it'd be the death of me. I couldn't be in a small town, ten minutes I'd enjoy it, and then I'd get fed up because you're so constrained and constricted by it.

I think that the Brexit negotiations have to be a big thing that determines the democratic fight-back and galvanizes democratic Europe again against this rising tide of nationalism.

I didn't have any concept of Trainspotting being published. It was a selfish act. I did it for myself.

That's all very well as an abstract moral principle, Avril, a coffee-table theoretical construct, but there's no denying the sheer gratuitous pleasure to be derived from seeing members of the ruling class in pain and torment.

Bowie's death is a very emotional thing. My generation of working-class Britain, it feels like we lost our spiritual leader, our guru. I always thought that if I was to be a hundred, somehow Bowie would be a hundred and fifteen. He'd be there to still steer me and guide me.

People even split up by text message, they dump each other by text. Everything seems so disposable, so throwaway, but you have to engage with that if you're writing about the modern world. You've also got all these pop references that you feel obligated to make. They're just part of the bricolage of the whole thing, whether or not these are actually significant elements themselves.

I think young writers should get other degrees first, social sciences, arts degrees or even business degrees. What you learn is research skills, a necessity because a lot of writing is about trying to find information.